scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.

scholarly journals Cultural based preconceptions in aesthetic experience of architecture

Spatium ◽  
2011 ◽  
pp. 20-25 ◽  
Author(s):  
Vladimir Stevanovic
Keyword(s):  
Comparative Analysis ◽  
Cultural Context ◽  
Aesthetic Experience ◽  
Visual Language ◽  
Cultural Backgrounds ◽  
Cultural Contexts ◽  
Historical Perspectives ◽  
Perceived Reality ◽  
The Aesthetic ◽  
Eastern Traditions

On a broader scale, the aim of this paper is to examine theoretically the effects a cultural context has on the aesthetic experience of images existing in perceived reality. Minimalism in architecture, as direct subject of research, is a field of particularities in which we observe functioning of this correlation. Through the experiment with the similarity phenomenon, the paper follows specific manifestations of general formal principles and variability of meaning of minimalism in architecture in limited areas of cultural backgrounds of Serbia and Japan. The goal of the comparative analysis of the examples presented is to indicate the conditions that may lead to a possibly different aesthetic experience in two different cultural contexts. Attribution of different meanings to similar formal visual language of architecture raises questions concerning the system of values, which produces these meanings in their cultural and historical perspectives. The establishment of values can also be affected by preconceptions resulting from association of perceived similarities. Are the preconceptions in aesthetic reception of architecture conditionally affected by pragmatic needs, symbolic archetypes, cultural metaphors based on tradition or ideologically constructed dogmas? Confronting philosophical postulates of the Western and Eastern traditions with the transculturality theory of Wolfgang Welsch, the answers may become more available.

scholarly journals La estética modal como herramienta de análisis cinematográfico

2020 ◽  
Author(s):  
Jesús Ramé López
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Other Hand ◽  
The Aesthetic ◽  
Fundamental Categories ◽  
Film Aesthetics

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.

The Aesthetic Triad

2021 ◽  
pp. 27-30
Author(s):  
Oshin Vartanian ◽  
Anjan Chatterjee
Keyword(s):  
Rapid Growth ◽  
Large Scale ◽  
Aesthetic Experience ◽  
Emergent Property ◽  
Aesthetic Experiences ◽  
Large Scale Systems ◽  
Sensory Motor ◽  
The Aesthetic ◽  
Meaning System ◽  
The Brain

Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.

An Aesthetic Theory of Vandalism

1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Psychological Processes ◽  
Previous Theory ◽  
Discriminative Stimuli ◽  
Aesthetic Experiences ◽  
Destructive Behavior ◽  
Initial Appearance ◽  
The Aesthetic ◽  
Practical Implications

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.

scholarly journals Associating With Art: A Network Model of Aesthetic Effects

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Eva Specker ◽  
Eiko I. Fried ◽  
Raphael Rosenberg ◽  
Helmut Leder
Keyword(s):  
Cognitive Process ◽  
Aesthetic Experience ◽  
Experimental Manipulation ◽  
Art Theory ◽  
Aesthetic Experiences ◽  
Future Studies ◽  
Psychological Constructs ◽  
The Social ◽  
The Aesthetic ◽  
Active Interaction

In recent years, understanding psychological constructs as network processes has gained considerable traction in the social sciences. In this paper, we propose the aesthetic effects network (AEN) as a novel way to conceptualize aesthetic experience. The AEN represents an associative process where having one association leads to the next association, generating an overall aesthetic experience. In art theory, associations of this kind are referred to as aesthetic effects. The AEN provides an explicit account of a specific cognitive process involved in aesthetic experience. We first outline the AEN and discuss empirical results (Study 1, N=255) to explore what can be gained from this approach. Second, in Study 2 (N=133, pre-registered) we follow calls in the literature to substantiate network theories by using an experimental manipulation, and found evidence in favor of the AEN over other alternatives. The AEN provides a basis for future studies that can apply a network perspective to different aesthetic experiences and processes. This perspective takes a process-based approach to aesthetic experience, where aesthetic experience is represented as an active interaction between viewer and artwork. If we want to understand how people experience art, it is central to know why people have different experiences with the same artworks, and, also, why people have similar experiences when looking at different artworks. Our proposed network perspective offers a new way to approach and potentially answer these questions.

scholarly journals Effects of creativity on aesthetic experience7

Psihologija ◽  
2017 ◽  
Vol 50 (3) ◽  
pp. 319-339
Author(s):  
Ivan Stojilovic
Keyword(s):  
Regression Analysis ◽  
Random Effects ◽  
Exploratory Study ◽  
Aesthetic Experience ◽  
The Other ◽  
Creative Activity ◽  
Multilevel Regression ◽  
Aesthetic Preference ◽  
Crossed Random Effects ◽  
The Aesthetic

It is often neglected that the experience of artwork is a creative act, and one which requires the audience to be creative. This exploratory study aimed to examine whether creative activity and measures of pe rson`s creativity are correlated with the aesthetic experience of paintings. Eighty-two participants rated 21 paintings, including 7 figural traditional paintings, 7 semi-abstract works, and 7 abstract works. Participants were randomly assigned to one of two experimental groups. One group first created collages and then rated the paintings on five aesthetic preference scales, while the other group first rated the paintings and then created collages. Multilevel regression analysis with two crossed random effects (participants and paintings) was used. Results showed that performing a creative activity prior to rating artwork positively influenced ratings of artwork creativity. In addition, collage creativity was positively correlated with ratings of (semi)abstract paintings as beautiful. It is hypothesized that people become more open to new, unusual experiences, are more flexible and act more freely in their decisions when performing a creative activity, which reflects positively on stronger preferences of paintings.

Internal Orientation in Aesthetic Experience

2018 ◽  
Author(s):  
Oshin Vartanian
Keyword(s):  
Default Mode Network ◽  
Aesthetic Experience ◽  
The Other ◽  
Neural Systems ◽  
Aesthetic Experiences ◽  
Considerable Evidence ◽  
Default Mode ◽  
Feeling States ◽  
The Brain

There is considerable evidence to suggest that aesthetic experiences engage a distributed set of structures in the brain, and likely emerge from the interactions of multiple neural systems. In addition, aside from an external (i.e., object-focused) orientation, aesthetic experiences also involve an internal (i.e., person-focused) orientation. This internal orientation appears to have two dissociable neural components: one component involves the processing of visceral feeling states (i.e., interoception) and primarily engages the insula, whereas the other involves the processing of self-referential, autobiographical, and narrative information, and is represented by activation in the default mode network. Evidence supporting this neural dissociation has provided insights into processes that can lead to deep and moving aesthetic experiences.

Aesthetics of the Everyday

2009 ◽  
Author(s):  
Crispin Sartwell
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Philosophy Of Art ◽  
Aesthetic Experiences ◽  
Popular Art ◽  
Art Objects ◽  
Everyday Aesthetics ◽  
Art Activities ◽  
Art As Experience ◽  
The Aesthetic

‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.

Intuitions about mathematical beauty: A case study in the aesthetic experience of ideas

Cognition ◽  
2019 ◽  
Vol 189 ◽  
pp. 242-259 ◽  
Author(s):  
Samuel G.B. Johnson ◽  
Stefan Steinerberger
Keyword(s):  
Aesthetic Experience ◽  
Mathematical Beauty ◽  
The Aesthetic

scholarly journals The relationship between the dancers’ and the audience’s aesthetic experience

Psihologija ◽  
2017 ◽  
Vol 50 (4) ◽  
pp. 465-481
Author(s):  
Maja Vukadinovic ◽  
Slobodan Markovic
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Live Performance ◽  
Dance Performance ◽  
Video Presentation ◽  
Other Hand ◽  
Custom Made ◽  
The Aesthetic ◽  
The Relationship ◽  
Higher Sensitivity

The study investigates the aesthetic experience of a dance performance from the perspective of both the dancers and the audience. The audience observed three short custom-made choreographies that were presented live and then watched the recorded versions, and judged them on an instrument designed to measure the aesthetic experience of dance. The choreographies were performed by six dancers. The dancers judged their own performances as well as the recorded versions of the performances. The analyses revealed that the dancers? aesthetic experience of a dance performance is similar when they perform choreography and watch it on video. On the other hand, the audience showed a higher sensitivity to live performance: they judged the live performance higher on all dimensions of aesthetic experience compared to their video presentation.

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